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Lalita-Sahasranama
Sanskrit language indisputably occupies the stage of sanctity among the language used the world over. There are works in this language pertaining to innumerable branches of knowledge that are so varied and rich that they can only be tasted and not studied in detail in a single effort. 'Sanskrit Literature' is vast and engrossing in its variety and form. Of the many great Sanskrit literary works that have come down to us, one is the classic Lalita-sahasranama, the magnum opus of an anonymous writer.
Bull in Early Indian Art
Phenomenal Consciousness and Mind-Body Problem
The problem of explanatory gap in the phenomenal consciousness has rises in the Western philosophy mainly because the consciousness itself and its manifestations or reflections are treated separately. Whereas, according to the Vedanta school of India, the phenomenal consciousness is merely manifestations of self-consciousness which is embodied in the human beings. In this approach, the phenomenal consciousness and self-consciousness are one and the same thing because the former depends upon the latter.
Hindustani Music
The book makes complex musicological concepts accessible to non-academic readers, and contributes significantly to widening the understanding of contemporary trends in Hindustani music. Written by an author of impeccable credentials as a musician, researcher, and author, this book is a very significant addition to the body of authoritative writing on 20th century Hindustani music.
Vedic View of the Earth
Tantric Forms of Ganesa
The number of publications dealing with Ganesa is not insignificant, few take original Sanskrit texts into consideration. The Tantric aspects of the deity have certainly been studied too little. This book contributes to our knowledge of this less familiar side of Ganesa. This text gives the iconographic peculiarities, mantras, and yantras of fourteen forms of Ganesa as well as instructions for the ritual application of the mantras.
Mahamudra and Atiyoga
Mahamudra and Atiyoga are particular forms of Buddhist spirituality : Mahamudra, the 'Great Seal', is considered by Tibetan teachers to be the essence of both the short path and the final instructions that conclude the gradual common and esoteric paths of Buddhist doctrines; Atiyoga of 'Extreme Union' represents the Buddhist Dzogchen or 'Great Completeness' doctrine.
Yoga-Tantra and Sensuousness in Art
The word yoga perhaps received the highest attention of readers among other Sanskrit words and the word is being interpreted, globally. In this book the author makes a humble attempt to explain the word yoga. During the course of exploring the meaning, certain related aspects needed discussions. These include an analysis of the philosophy of yoga-tantra, a clear-cut understanding of Ulta-Sadhana or Regressive Process, etc.
Elements of Indian Art
The book is a study of the fundamental principles of ancient Indian art and architecture, dealing with essentials of Hindu thinking and practice of art like the Hindu view of Godhead, iconography and iconometry, and symbols and symbolism in Hindu art. It undertakes a survey of Indian art and temple architecture from the 3rd century BCE through the mediaeval period. It elaborately views the various terms and concepts associated with the field of art and iconography like mudras, asanas, pithas, explaining the nature of Buddhist and Jain deities as well as those of Hindu sects like Saivism, Vaisnavism and Saktism.
Sivastotravali of Utpaladeva
Sivastotravali is a collection of hymns dedicated to Lord Siva by Acarya Utpaladeva, a great Saivite master intensely in love with Lord Siva and earnestly craving to be one with Him. The book comprises 450 verses arranged in twenty chapters. Each verse is soaked in the nectar of his intense devotion for the Lord and extreme craving for God-consciousness. The book represents his direct and uninhibited one-way dialogue with Lord Siva, projecting his problems, one at a time and seeking His indulgence in getting over these.
The Art of Tabla Rhythm
This authoritative work deals comprehensively with Tabla rhythm, focusing, if in brief, on its history and aesthetics. It is aimed at the Tabla student, the Tabla performer, as well as the inquiring listener of Hindustani music, for whom it encapsulates a Tabla practitioner's knowledge acquired over a lifetime of learning and teaching.
